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Latest Posts by xvxblahhhxvx - Page 4
Chuuya's backstory is so insane because like, any one event from 15-Stormbringer would be enough to constitute a lesser man's entire tragic backstory. Heck, that one scene from Dead Apple where you learn six of his friends died would be enough to be a tragic backstory. Grew up on the streets, forced to become the leader of a group of children who only saw you as a weapon, struggling with your own humanity, betrayal, five friends being brutally murdered because of you, even the detective who wanted to bring him out of the Mafia dying could be enough of a backstory, and I haven't even gotten to the torture yet. But Chuuya's just special like that.
chuuya’s role in bsd is so funny to me. you’re watching this show and every 10 episodes or so this pretty guy drops in, and he’s the coolest most OP guy in the show so he can really only hang around for a few minutes before he makes any conflict obsolete. and he’s supposed to be part of the villains but he never really does anything that evil and is mostly helpful? he just appears and does something badass and fucks off again. and this is all already really weird but also every time he shows up it’s clear that he and one of the other main characters have like, definitely fucked, which adds a whole other layer of absurdism. and the best part is he accomplishes this in maybe 11 total minutes of screen time.
^Description of Oda from Beast.
Odasuku’s somehow the most unserious serious person.
He takes everything literally and it doesn’t matter what the topic of conversation it. He will handle it with the same amount of important and seriousness.
Without changing his tone or facial expression.
Like that man probably talks about getting milk from the shop in the same way he’d talk about killing a person.
There’s simultaneously no thoughts in his head and too many.
I've read the Flowers of Buffoonery, and can confirm that yes, his entire character is literally the book, a lot more than No Longer Human. The narrator flat-out admitting that he's lying with you, describing "the flowers of buffoonery" in sort of a coping mechanism, interrupting himself to be self-deprecating on his own writing while keeping up the whole light atmosphere despite it being a book about suicide...it's literally bsd Dazai and criminally under talked about in the fandom.
Dazai’s Ability might be named after No Longer Human, but his entire character is based off The Flowers of Buffoonery
It’s in the way the book is a comedy despite being about suicide.
In the way the main character (Yozo Oba) and his friends are constantly joking around despite Yozo being a sanatorium for a failed double suicide with a beautiful woman.
In the way the author is constantly cutting in with funny commentary and lying to the audience at almost every step.
In the way I’m lulled into a false sense of everything being alright, into believing Yozo is actually okay, despite knowing that there’s something wrong.
There’s even a story about crabs.
If you want to understand BSD Dazai, read The Flowers of Buffoonery. It’s very insightful.
I still think about the fact that when Dazai got captured by the Port Mafia, not only did no one in the Agency worry about him, Kunikida made him write a report on it when he got back.
Which only makes me wonder how often this happens that it's become standard procedure to write reports after returning from being captured by the enemy.
Sometimes, I wonder what the Agency's actual job is.
UGH I MISS THEM SO MUCH-
(Image if from one of the omakes, taking place when Atsushi was going up with Lucy and Kyouka to the sky casino)
"Akutagawa is Atsushi's foil" yeah but you know who else is?
Dazai.
Atsushi and Dazai are really good parallels in a way that doesn't ever get talked about. Atsushi saved Dazai from dying in the moment that he decided he was going to live. Everything Atsushi does, everything that drives him, is his utter desire to live. Sure, sometimes he may doubt his own right to do so, but to him, life is the most beautiful thing he wants to be worthy of.
Dazai, on the other hand, is driven by his desire to die. He searches for a way out, even if he never goes through with it. He doesn't see the value of life, not in him and not in most others.
That's one of the things that attracted Odasaku to him, and now Atsushi. Because as much as Dazai never valued life, he values people who value life. Chuuya, Odasaku, Atsushi, even Ango he chose to befriend when learning that he was writing the names of all the dead. That's why Atsushi is so precious—it's someone he could learn from, maybe to find his own will to live.
The boy who desires life while his mentor desires death. And their relationship is somehow one of the most wholesome in the whole series.
As a writer, this hits home so much. I love reading the afterwards of the novels so much, because aside from just in general being really interesting, I really love how Asagiri talks about writing and engaging in media.
And yeah, both sides of the Day I Picked Up Dazai hurt.
[Translation] Asagiri Kafka's afterwords for The Day I Picked up Dazai novel
Normally, afterwords would be the last thing I read in a novel, but as there are not many changes to the published novel this time compared to the movie bonus version, I was able to skim through the text quickly and get to this. And to be honest, despite not being a writer myself, I was so moved by Asagiri's views about writing and his characters that he shared in the afterwords, that I had to sit down and translate it right away.
This is just my crappy translation, as usual, but I hope it gave you a short, interesting look into the author and the characters. And please do not forget to buy the novel if you have the chance.
The translation is under the cut, thank you!
It has been a while. This is Asagiri Kafka.
Have you been enjoying Bungou Stray Dogs?
This novel, “The Day I Picked up Dazai”, is a compilation of the first week’s bonus novel “The Day I Picked up Dazai – Side A” and the second week’s bonus novel “The Day I Picked up Dazai – Side B” for the screening of “Bungou Stray Dogs BEAST” movie (hereinafter referred to as “BEAST”).
Normally, it is difficult to publish a bonus like this, but since "BEAST” and “Fifteen” that were published earlier by BEANS Bunko were originally bonus novels too, "The Day I Picked up Dazai” was also published in the same way, thanks to the efforts of all parties involved in the Bungou Stray Dogs series.
It is the story of Dazai and Odasaku’s first meeting, where Dazai who wants to die, collapsed in front of Odasaku’s place, who is neither a mafioso nor a hit man.
Why are there two different stores, Side A and Sode B? Regarding this question, please read the novel and see for yourself. If you keep in mind that this is the bonus for the BEAST movie, I think you will be able to understand it better.
Let me reminisce a little bit here.
This story was actually suggested to me by Igarashi Takuya, Director of the Bungou Stray Dogs anime.
Shortly before BEAST movie premiered, I was struggling. It was because I was asked to write a bonus novel for movie-goers again. I said “again” because, as I mentioned earlier, BEAST itself was a bonus novel for the Bungou Stray Dogs DEAD APPLE movie. I remembered having a hard time writing it, because I let myself run wild and wrote a total of 190 pages instead of 50 pages as requested.
But I had learnt my lesson after the last rampage. I can’t just write whatever I want anymore. I have to wrap the story in a reasonable length, like a pro should do.
A proper, professional story.
Huh?
My pen stopped right there. I stopped, looked around, feeling lost.
What is a proper story?
The act of writing novel is quite different in character compared to other types of media such as writing manga, anime scripts, or game scenarios. You can say it is almost a different thing. Writing novels, rather than narrating an event, is more like putting the flow of emotions into specific sentences. You use the sequence of letters to create rhythms, create flows, and create emotions. If anything, it might be closer to composing a song than writing a story.
Therefore, you have to decide “what kind of emotion will be put in this novel” from the very beginning, or you can’t start writing. That is the only and absolute rule.
Now, however, that is where the condition of a “proper story” hung over me.
A proper novel, of a proper volume, with a proper content for a bonus.
In other words, a proper emotion.
I searched through the drawers inside my head. For a proper emotion that is waiting to be brought out.
There was nothing but emptiness there.
A professional story teller is one with the skill to move the readers’ emotions. When people find the chance to move their own emotions, they will happily be paying for it. Human-being is that kind of creature.
And writers are ones who create and sell those kinds of emotions: the fear, the excitement, the heart throb etc., those that make you think. It is that kind of job.
It is supposed to be that kind of job.
Yet I became unable to move forward.
A good story is a story that moves people. I know that. Then what kind of emotion I should put in the story to make it "proper"?
How do I find that emotion?
I mean, how did I even write novels until now?
I stood still. My legs stiffened, my knees froze, unable to take even a step forward.
I then tried to at least pretend that I was moving forward, by listening to music, by taking a walk around the neighborhood at night. But as good as the night breeze felt, I didn’t manage to reach a single story that I needed to write.
What if I stayed like this forever, what would I do?
I felt a chill plunging into my back.
Then I realized, that stories, or probably emotions too, are not things you can search for or come up with. You have no choice but to patiently wait for it to come your way. You have no choice but to humbly and earnestly sit and wait for the story’s visit.
I got that, but the "proper 50-page story” still refused to come.
It was not long before one week passed. Then two weeks.
I was doing other work, while keeping my heart’s door open, waiting for the story to come to me.
At that time, I had an online meeting with the anime staff. I casually asked Director Igarashi, “Do you have any story you want to see?”
The Director gave it a little thought then told me, "I want to see the story of Dazai and Oda’s encounter”.
At that very moment, the story rushed in through my door, like a bang. I could hear that sound very clearly.
Two stories. Odasaku, and the two Dazais. A story where they met, and a story where they couldn’t meet. A story of gain and a story of loss. If I can portray the gain and loss side by side, the amplitude of the heart will be doubled and rise up in front of us.
That was a momentary event. Rather than pushing my way forward, I felt as if something was pulling my hand. Before I noticed, I have already finished the stories.
I came to realize.
It is not the writer who searches for the story. It is the story that chooses its writer, and at some point it will come our way. A professional writer is no more than someone with the ability to catch that call.
Also, this is the most important thing: there is no such thing as a “proper emotion”. Because after all, the feelings of other people belong to them only. That is why there is no guarantee that a novel can move others “properly”. However, you can move your own emotions. You know what kind of novel can and how it will move you. If you do, you can write just that. That’s the only way. That is the truly professional attitude. That’s what I thought.
Well then.
It is a little bit off topic, but as we are talking about “stories that come our way”, let’s talk about Odasaku’s first-person narrative.
Odasaku is a special character. For me, he is exclusively a novel character, and I have never portrayed him in the manga.
He first appeared as the narrator in “Dazai Osamu and The Dark Era”, then “BEAST” and now this “The Day I Picked up Dazai”. All are novels. That’s why for me, Odasaku doesn’t live inside the pictures, he lives inside the first-person narrative passages.
He is an eccentric guy. Even if you prepare the place and tell him to speak, he won’t speak to you that easily. His way of thinking is rather unique, that if I write his narrative after writing other characters’ first-person narrative, I would stumble for sure. Odasaku doesn’t speak. He just sits there in silence, while I can do nothing but sitting in front of my blank manuscript paper, trying to talk to him, like “What’s up?”, “Here, here”. However, he is a guy who won’t speak when it is not necessary. Sometimes it goes days or even weeks without him saying a word. Why did such a character come to me...?
During such time, there is only one thing I can do. That is, of course, to stay with him, sit patiently, and simply wait.
Finally he will start speaking. In his unique rhythm, word by word. His words have the power to cut through the world from a certain angle. That special cross-section is full of things I have never seen before and it never fails to surprise me.
And then when he finishes telling his story, he will swiftly disappear. To a dark and quiet place somewhere – probably, I can only imagine, somewhere like a bar. He will sit there calmly and keep his own time to himself. After that, it will be hard to call him again. It is a backbreaking task to me, but in the end, that is the type of guy Odasaku is, and if I am allowed to sound self-conscious, that is Odasaku's charm.
This story was written in such a way. There is a chance that he will come back again. And when he does, I will patiently listen to his voice again.
This story was completed and published thanks to the help of many people: in the Bungou Stray Dogs BEAST movie’s Production Committee, the anime staff, Young Ace’s Editorial Department, BEANS Bunko’s Editorial Department, and the many people who were involved in the publication of the book. Thank you very much. It is all thanks to you that the book was published without any problem this time as well.
Well then, see you in the next story.
Asagiri Kafka.
Love resurfacing to ask a stupid, inconsequential question but
Appreciation post for the anniversary of Odasaku's death.
RIP man. Hope you're having a good time in heaven with those orphans.
This is just Stormbringer and it's not even a fanfiction. I think Asagiri figured out we like Chuuya when he wrote it.
No words...just no words.
Except! I also like the idea that Dazai is the first person Chuuya has to rely on. All his life, it's always been him on his own, using his power for others, but Dazai is different. In order for Corruption, the strongest part of his ability to work, he has to rely on someone else.
Another thing I liked seeing pointed out is that yes, Chuuya was lowkey suicidal when he was fifteen and sixteen. It took until Dazai stated he wanted to live that Chuuya finally took his hands out of his pockets and started fighting for his life, the thing he said would make him feel human and like himself.
All in all, amazing analysis!!!! Thank you for writing!!
Chuya's Tainted Sorrow
Here comes a meta on my favourite bsd character:
Chuya is mostly explored in the two BSD novels Fifteen and Storm Bringer, so this post covers what happens in these books. In particular, I am going to use Chuya's song, gift and literary references to explore his story.
DARKNESS MY SORROW
Darkness My Sorrow is Chuya's character song and its title combines two different literary references:
Darkness comes from the Sheep Song, which is used to trigger Corruption:
O acquaintances, grantors of dark disgrace, do not wake me again!
Sorrow comes from Upon The Tainted Sorrow, which gives its name to Chuya's ability
Let's discover what these two poems represent.
CHUYA'S DARK DISGRACE (THE SHEEP)
O expectations, stale and dismal airs, leave this body of mine! I want nothing anymore but simplicity, quiet, murmurs and order. O acquaintances, grantors of dark disgrace, do not wake me again! I will endure my solitude, arms seeming already useless. O eyes that open doubtfully, open eyes that stay motionless for a while, ah, heart, that believes in others more than itself, O expectations, stale and dismal airs, leave, leave this body of mine! I enjoy nothing anymore but my wretched dreams. (The Sheep Song, Part II)
The Sheep is Chuya's first group, which welcomes him in as a child. Why is the organization called after this animal? There are several reasons, which tie with Chuya's relationship with his friends.
1 - Chuya is a herding dog
The Sheep's members are normal kids, but Chuya guards their territory and punishes trespassers violently. This is the behaviour of herding dogs, which are famous for their aggressiveness towards outsiders.
"Everyone's waiting for you to give this enemy a beatdown! That's the only way we Sheep can protect our turf! We've only made it this far because everyone knows they can't mess with us!" (Shirase in Fifteen)
2 - Chuya is a sheep among wolves
"Chuuya's got all that berserk firepower, but here he's like sheep getting stared down by a wolf." (Dazai in Fifteen)
Chuya's relationship with the Sheep is exploitative and toxic. The other kids use Chuya's love and wish to belong to control him. All in all, Chuya is used as a pawn for the organization's well being:
"We Sheep took you in when you had no family and nowhere to go, but you already gave us more than enough in return. That's why... it's time to rest... after dying and contributing to the Sheep one last time." (Shirase in Fifteen)
3 - Chuya is the King of the Sheep
Luois I, King of the Sheep is a children book about a sheep, who finds a crown. He puts it on and becomes King. The point of the story is that Luois I is like other sheep, but chance and a superficial attribute turn him into a royal.
Chuya sees himself in the same way:
"I'm not a King," the boy, Chuuya Nakahara, spat. "I just happen to have something no one else does: power. I'm simply fulfilling the responsibility I have." (Fifteen)
Chuya's "crown" is his gravity manipulation gift that sets him apart from others. He even calls it a "good card", so something luck gives him.
Luois I lets the crown get to his head and believes he is above others. Chuya instead really wants to be part of the flock:
Chuuya wasn't anyone special; he didn't have a skill, either. He was just a regular member of the group. He wasn't the king, he had no powers, he wasn't the center of attention - he was simply a single Sheep among the flock, chatting with his friends. (Chuya's wish in Storm Bringer)
However, his ability is so powerful that it is the Sheep kids, who forget Chuya is a teenage boy just like them:
"Chuuya's covered in wounds. I've never seen him like that. He looks just like a regular guy my age. Wait, no - he doesn't just look like one. He is my age. He's a boy just like me." (Shirase in Storm Bringer)
In short, Chuya doesn't want to be the Sheep King, but he is forced into the role by the crown of power:
"Shut up! If you think you can become king, then do it! You can have this power!" Chuuya howled, unable to take it any longer. "To hell with power! If I didn't have this skill, I'd still be with you guys...!" (Storm Bringer)
Still, gifts are metaphors of the characters' interiority. So, what does Chuya's abnormous skill symbolize? What is the real flaw that defines Chuya's relationships and gets in their way?
"Once there was this boy who could amplify the skill of anyone he touched. Super convenient. So what do you think would happen if he used it on himself instead of someone else? (...) He amplified the skill to amplify the other skill, which amplified the skill to amplify skills that amplify skills. This self-referencing continued nonstop as he endlessly amplified his own skill." (N in Storm Bringer)
Storm Bringer reveals that the origin of Chuya's gravity manipulation is the gift to make other skills more powerful. The user applies his gift on himself and makes it stronger and stronger until infinite energy is created and space warps. So, Chuya's singularity is born: a gift able to control gravity. In other words:
The original ability is to make others stronger
If the ability is used on one-self (so that the wielder can become more powerful and make others even more powerful), then a contradiction arises and a monstruous skill appears
This process is a representation of Chuya's tendency to grow stronger for others' sake. He hones his fighting skills to protect the Sheep (to make them stronger), but this turns them too dependent on him (an organizational vulnerability). What a good leader should do is instead to nurture his people, so that they can be independent and strong:
“A leader is both the head of the organization and the organization’s slave. For the survival and the profit of the organization, they gladly put themselves through any manner of filth. They develop their subordinates and place them where they best fit. And, if necessary, they use and dispose of them. For the sake of the organization, they take on any act of barbarism with glee. That is a leader. All for the organization, and for the protection of this beloved city.” (Mori in Fifteen)
This is Chuya's mistake and the reason why the Sheep disbands. Chuya falls short as a leader not because he isn't as smart as Dazai or Mori (if anything, I think he is going to be a better leader than both). Rather, he fails because he doesn't know how to depend on others:
"It's because you are our friend. Were things different with the Sheep?" They had been. That was what Chuuya's flustered expression was saying. Everyone in the Sheep depended on him. The contrary was unthinkable. (Storm Bringer)
He insists on doing everything by himself, but a leader should work with his subordinates. This is what Chuya lacks in Fifteen and what he sails up to learn.
Still, to succeed Chuya needs to face the origin of this flaw, which lies in how he perceives himself:
O eyes that open doubtfully, open eyes that stay motionless for a while, ah, heart, that believes in others more than itself
Chuya sees himself as inferior to others. This complex makes him willing to be used, if it means he belongs somewhere:
LONELY DARKNESS MY SORROW, once it is opened by the key I'd rather just fall than go back to being alone Staring at the destroyed cage of this self, (GRAVITY) Slowly, I sing, "Not bad at all."
This is the key stanza of Chuya's song, which reveals what Chuya's darkness really is. Loneliness. Chuya is scared of being alone, so he does his best to conform to others' wishes. For example, he dresses like those around him not to stick out.
Chuuya, age fifteen - He wears sportsy clothes, with several sheep symbols:
Chuuya, age sixteen - He wears a formal attire with much black in it. Perfect mafia-style:
However, he can't escape his interior pain, which metaphorically manifests in Corruption:
O acquaintances, grantors of dark disgrace, do not wake me again! I will endure my solitude, arms seeming already useless.
It is not by chance that the verses, which open Chuya's gate affirm the poet's solitude. That is because deep down Corruption is just this. Chuya's isolation.
THE TAINTED SORROW (ARAHABAKI)
Upon the Tainted Sorrow, Today, the snowflakes fall so harsh. Upon the Tainted Sorrow, Today, even the strong wind gusts. The Tainted Sorrow is Just like a fox’s hooded fur. The Tainted Sorrow is Covered by snowflakes and it cowers. The Tainted Sorrow has Nothing to desire and nothing to wish. The Tainted Sorrow has A dream of death to its wary self. Upon the Tainted Sorrow, Trembling like a pitiful soul. Upon the Tainted Sorrow, Nowhere to belong, the sun sets... (Upon The Tainted Sorrow)
Corruption is a state where Chuya gives up his body to Arahabaki. What is this entity? In universe, it is a singularity, a self-contradicting skill able to create infinite power. It metaphorically represents two things:
Everyone's objectification of Chuya
A part of Chuya himself
1 - Chuya's life is defined by others reducing him to a skill
-N and the Government kidnap, abuse and clone Chuya because of his self-contradicting gift. It is not the two kids (the original and the clone) they are interested in. Rather, they reduce them to their special abilities:
"Just like how we respect your will, we respect the will of your skill Arahabaki, as well. But... how should I put this? Your will is tying Arahabaki down, and as long as your will is firm, we won't be able to remove Arahabaki from you." (N in Storm Bringer)
N says it oudloud. He respects Arahabaki's will more than Chuya's. Except that Arahabaki has no will:
"Sigh... Why do you wanna see it so bad?" Chuuya said. "It doesn't have a personality or a mind of its own, so what's meeting' it gonna do for you? You gonna pray to it because it's a god? It's a god of destruction, y'know. Nothing more than a mass of energy. It's no different from a typhoon or an earthquake. Ya might as well pray to a power plant." (Fifteen)
Arahabaki is not a person, but the embodyment of Chuya's gift. And yet, it is given a name and treated as more important than the kid.
-Rimbaud literally wants to turn Chuya into a skill:
"Allow me to reintroduce myself. Rimbaud. Arthur Rimbaud. My skill is called Illuminations. Chuuya, my goal is to kill you and absorb you into my skill" (Rimbaud in Fifteen)
He doesn't want to kill Dazai because he hates murdering children. And yet, Chuya is Dazai's same age. However, Rimbaud sees him as nothing, but Arahabaki's host.
-Verlaine wants Chuya to be his clone:
"I dunno about you, but I'm human." "You aren't human. You're 2,383 lines of code." (Chuya and Verlaine in Storm Bringer)
He denies Chuya's humanity and insists he is an artificial creation. Chuya can't be the original kidnapped child, but needs to share Verlaine's origins and hate for the world. Verlaine doesn't consider his brother a person, but an extension of himself.
2- Arahabaki is Chuuya's inner beast
In psychology, the beast is a personification of one's deepest and most repressed feelings. What are Chuya's?
His control on gravity suggests two strong emotions:
a) A lack of freedom - The ability to control gravity should make one freer. And yet, Chuya is always chained:
Even though it feels like I might be trapped, there is no room for sentiments I'll push myself to the limit and dye everything jet-black The world is a bird cage, faded in colour Even if I lament, I can't get out of this prison
He spends his childhood imprisoned in a lab. He is used as an attack dog by the Sheep. He is threatened to join the mafia with his friends' lives and Rimbaud's secret files. In a sense, he always serves someone. That is why Arahabaki is a servant deity.
b) A huge existential weight - He can make things lighter, but he still shoulders too much:
"Tell me, tin man," Chuuya suddenly stated, his voice devoid of all emotion. "Why did they die?" "Because of you, Chuuya." Silence. "Yeah, it is my fault." (Chuuya and Adam in Storm Bringer)
For example, Chuya blames himself for what happens with the Sheep, the Flags and later on Adam:
"What's wrong, Chuuya? Everyone's going to die at this rate. You're going to kill them. Your shortcomings are going to kill them." (Verlaine in Storm Bringer)
Chuya fears whoever gets close to him dies. That is why Arahabaki is a god of destruction.
Points 1 and 2 explain Chuya's loneliness. On the one hand others only see his skill (objectification). On the other hand Chuya doesn't see himself (struggle with the beast).
Arahabaki is a god whose origins are uncertain, so nobody understands it. Not even Chuya:
'In languor dreams of death' … who was the one that said it?
In the song, Chuya wonders who is the author of his own poem. This shows how disconnected he is from himself. He wears a mask of violence and bravado to hide his vulnerability. Still, this fragility emerges every time he lets Arahabaki out. Here comes the interpretative key of Chuya's character...
Arahabaki is nothing, but the Tainted Sorrow of the poem:
Upon the Tainted Sorrow, Today, the snowflakes fall so harsh. Upon the Tainted Sorrow, Today, even the strong wind gusts. The Tainted Sorrow is Just like a fox’s hooded fur. The Tainted Sorrow is Covered by snowflakes and it cowers.
The tainted sorrow is a fox covered in snow, while the wind howls:
Black snow began fluttering around Chuuya. Red scar-like runes crawled across his skin. He ignored the law of physics, hovering in the sky, as he glared down at the beast on the surface. Intense heat caused by the gamma radiation filled the air. The night was scorched, and the scenery warped. (Storm Bringer)
Arahabaki-Chuya is described as a tailed-beast and the anime shows he is similar to a fox. Moreover, he is covered in black snow, while his gravity powers manifest a strong wind.
The rest of the verses convey Chuya's feelings:
The Tainted Sorrow has Nothing to desire and nothing to wish. The Tainted Sorrow has A dream of death to its wary self. Upon the Tainted Sorrow, Trembling like a pitiful soul. Upon the Tainted Sorrow, Nowhere to belong, the sun sets...
Interestingly, the fox and the setting sun come up in Storm Bringer:
The video showed a golden coin. One side was engraved with a fox, the other with the moon. It was beautiful yet somewhat melancholy. (Storm Bringer)
The young Chuya repeats Upon the Tainted Sorrow while playing with a coin that has a fox and a moon on its sides.
The literary metaphor becomes clear. The Sheep Song is the key to open the Tainted Sorrow's gate. Chuya activates Corruption through verses, that state his loneliness. He says them, when he is ready to face the darkest part of himself.
WHAT IS CHUYA?
The Tainted Sorrow has Nothing to desire and nothing to wish. The Tainted Sorrow has A dream of death to its wary self.
The Tainted Sorrow dreams of death, which means Chuya is suicidal.
This is why he is both drawn and repulsed by Dazai:
"Your birth itself was a mistake. We're the same. Is there really a point to suffering through all that pain for a life that isn't even real?" The voice was taunting him. "Shut up," Chuuya spat, but even he knew he was talking to himself. "Screw you, Dazai." "That's just proof that you at least somewhat believe what I'm saying. Because deep down inside, you're the same as me." (Storm Bringer)
Dazai is the Chuya, who regrets being born and wishes to die. Still, he is also the Chuya, who wants to live, despite it all:
Chuya quietly stared at Daai's expression as if he were searching for something human deep inside of him. "So you're saying... you want to live now?" "I wouldn't go that far," Dazai replied with a resigned smile. "Maybe I won't find anything, but I figure I'll give it a try." (Fifteen)
The Tainted Sorrow wishes nothing because it isn't a person. Chuya fears he has no will of his own because he isn't human:
Chuuya Nakahara didn't dream. For him, waking up was like a bubble emerging from within mud. (Storm Bringer)
This fear is why Chuya's friendship with Adam is so important.
Adam is a an artificial creation, like Chuya. He is even called after the Frankenstein monster. He is a robot programmed to destroy himself for the sake of his mission:
"This is the real reason why an android was sent, instead of a human detective. My core, which now contains state secrets, will be incinirated along with Verlaine." (Adam in Storm Bringer)
Adam is a person, like Chuya. He is even called after the first man. He is a friend, who chooses to sacrifice himself for a loved one:
"I get to protect you. I couldn't ask for more." (Adam in Storm Bringer)
Dazai and Adam are linked to life and humanity, which are the main themes of Chuya's arc in the novels.
They both get to keep on living together with Chuya:
Dazai curled into the fetal position and screamed, "Dying with Chuuya? Anything but thaaaat!!" (Storm Bringer)
"Would you like to hear an android joke, Master Chuuya?" (Adam revealed as alive at the end of Storm Bringer)
Fittingly, Storm Bringer ends with the three of them together and alive. Chuya loses several friends, but by the end he still has two bonds. Two people who survive their friendship with him.
Even more importantly, Dazai and Adam both care about Chuya's humanity:
"Chuuya's gonna kill N at this rate and lose his humanity, but I want to see him suffer as a human. That's why I have to stop him" (Dazai in Storm Bringer)
"Do you know whether Master Chuuya is human?" I was curiously hopeful that he would know the truth. (Adam in Storm Bringer)
Not only that, but they help Chuya finish his arc and find himself:
Then what is a soul? My friend's final words... What if those words were merely the words of a soulless command? So what? (Chuya in Storm Bringer)
Dazai gives Chuya a choice and Adam helps Chuya make it.
Dazai believes in Chuya's humanity more than anyone else:
"You sound like you're certain he's human." "I am." Dazai sighed, smiling. "There's no way I could hate a man-made character string this much." (Storm Bringer)
N, Shirase, Rimbaud and Verlaine all reduce Chuya to a skill. Dazai instead sees Chuya as his own person. Sure, he finds Chuya annoying, but he is the only one, who interacts with Chuya for who he is, rather than what he can do.
Adam realizes Chuya is human no matter his origins:
"Asleep or not, he is just an ordinary human," Chuuya replied indifferently. "his skill is strong, but that's it. He gets mad, he worries... That doesn't seem to be enough for him, though." "You are exactly right. It appears you have reached the conclusioin you needed to arrive at." (Chuya and Adam in Storm Bringer)
The Flags, Verlaine, Dazai and Chuya himself are focused on uncovering Chuya's birth. Is he the original kid or the clone? Discovering the truth is everyone's goal. Still, by the end Adam realizes Chuya's nature doesn't matter. He is Chuya either way. He is the person who teaches Adam about humanity. He is Adam's first friend.
Thanks to both Dazai and Adam, Chuya finally faces himself and activates Corruption. Not only that, but Chuya's final choice to let Arahabaki out is a perfect example of how he interprets freedom:
Even though it feels like I might be trapped, there is no room for sentiments I'll push myself to the limit and dye everything jet-black The world is a bird cage, faded in colour Even if I lament, I can't get out of this prison BUT NOW, DARKNESS MY SORROW I have not yet fallen apart So, as I laugh off this imposed inconvenience Let's overturn even the heavens and the earth (GRAVITY)
Chuya is trapped in many ways and he knows it. He is given a gift he doesn't want and he is forced to join an organization he dislikes. And yet, he makes all these "imposed inconveniences" his. Chuya accepts the "card he is given" and uses it the best he can.
He combines his gift with martial arts, so that it really becomes his own ability:
He finds his own motivation to work for the mafia:
"I chose to join the Mafia on my own, and I'm never gonna be your lackey, much less your dog!" (Chuuya to Dazai in Fifteen)
He doesn't open the gate when N forces him, but he chooses to on his own terms.
It is really not by chance that in Chuya's first big fight in the manga, this happens:
Chuya claims there is no choice, but he is still the one who decides to activate Corruption. Even when trapped, Chuya always pushes forward and plays the hand he is dealt with passion. Even if he is unsure of who he is, he lives on as himself.
WHO IS CHUYA?
Chuuya took off one of his leather riding gloves and gazed at his hand. This is my hand, he thought. (Storm Bringer)
Chuya is a person. He has always been, no matter if he is the original or the clone. He feels pain, happiness, surprise. He is able to bond and to empathize with others. All of this makes him human. Not only that, but all of this makes him Chuya.
It is interesting that by the end, many people who objectify Chuya, recognize his personhood.
Shirase sees him as the teenage he is and saves him
Mori traps Chuya in the mafia, but is touched by Chuya's passion and loyalty:
Both Rimbaud and Verlaine eventually see who Chuya is:
"Chuuya, you already possess strength and talents all your own, separate from Arahabaki. You are strong not as a god but as a human being." (Rimbaud in Fifteen)
"Does that mean... you do not yet resent the world?" "There's people I hate, but not all of'em," replied Chuuya. "I know better than to try and live a solitary existence. You used to feel the same, right?" Verlaine didn't respond. It was as if his silence itself was his answer. (Storm Bringer)
And tell him to live on:
"Chuuya... can I... ask you... a favor?" "What is it?" "Live" Randou said in almost a whisper. (Fifteen)
"Chuuya-live." (Verlaine in Storm Bringer)
Chuya manages to inspire all these people. At the same time, he is inspired back by them:
I was blessed with wonderful friends. That's all. I could have been in your situation, and you could have been in mine. (Chuya to Verlaine in Storm Bringer)
He integrates all his loved ones in who he is:
He (probably) imitates Hirotsu's habit to wear gloves and to take them away, when he is getting serious. This mannerism partially substitutes his practice to fight with the hands in the pockets
He is given his motorcycle by Albatross and keeps it as a memory of the Flags
He wears Verlaine's hat, which is really a gift from all three Chuya's key parental figures:
1- Rimbaud creates it for Verlaine
Once Verlaine puts on the hat, the fabric lining acts like coils, deflecting any external command sequences that could tamper with his mind. In other words, the wearer can control command sequences at will. With this hat, Verlaine is one step closer to becoming a human with free will. (Rimbaud in Storm Bringer)
2- Verlaine passes it down to Chuya
"You really like that hat, huh? That was his, right?" "Yeah, I'd rather not wear my brother's hand-me-downs, but it's got some pretty useful functions." (Shirase and Chuya in Storm Bringer)
3- Mori gives it to Chuya as a gift when he joins the mafia
"What's the hat for?" "It signifies your acceptance into the Mafia," Mori explained with a smile as he stood facing Chuuya. "Whoever recruits a new member into the organization usually looks after them as well. It's custom to gift the new recruit with something they can wear as a symbol of that bond." (Fifteen)
As a result, Chuya's hat is an object full of symbolism:
Within the darkness, a shadow of a hat lightly dances.
It is both shadow (a shadow of a hat) and light (within the darkness, it dances). On the one hand it is the key to Corruption, so to chaos. On the other hand it gives Chuya the power to control this chaos to an extent.
It is both what grants Chuya's free will and what threatens his autonomy:
It describes Chuya's bond with Mori, which is contradictory. Mori blackmails Chuya to join the mafia and controls him. He also offers Chuya a family (heart) and an insight on leadership (mind).
It represents Chuya's bond with Rimbaud and Verlaine, who are Chuya's literary parents, as their real life counterparts inspired Chuya Nakahara's poetry. In general, Chuya's past lowkey alludes to the true poet's one, at least metaphorically.
Nakahara Chuya is born in a rather wealthy family and forced by his father to pursue medicine studies. However, he discovers poetry when he is 8 years old and his younger brother dies. Later on, he rebels against his father's education and is inspired by Rimbaud and Verlaine's works. He imitates both their poems and their dandy life-style.
Similarly, BSD Chuya finds himself trapped until he is symbolically awaken to literature (break out of the lab) by Rimbaud and Verlaine. Here, his poetry (Upon The Tainted Sorrow) is set free and Chuya is reborn:
Those newborn cries filled the outside world in the form of flames. The raging flames brought destruction to the surface for as far as the eye could see. And thus, " " was born. (Fifteen)
Interestingly, Chuya is 7 or 8, when Rimbaud and Verlaine arrive in his life. Moreover, his survival and freedom come at the cost of his other self (his clone/the original Chuya). Just like Nakahara Chuya's first poem is the result of his grief for his brother's death.
In other words, Chuya is Rimbaud and Verlaine's literary child. He is what their bond leaves behind. This is why initially they both strongly project on Chuya, but eventually let him go. Isn't it normal for a parent to see themselves in their child? And isn't it normal for the child to imitate the parents to an extent? And yet, the child is his own person. Just like this, Chuya is strongly defined by both Rimbaud and Verlaine, but he is growing into himself:
"It's okay. The Port Mafia is my family now" (Chuya in Storm Bringer)
So, who is Chuya? It's easy, really. He is a Port Mafia Executive (and probably the next Port Mafia boss). Right now, he needs to define his role within the organization and outside Mori. As a matter of fact, Mori is Chuya's third father, so to become an adult, Chuya needs to outgrow him. Just like he did with Rimbaud and Verlaine. Only then, he will truly choose who Chuya Nakahara is.
Skk's entire relationship in a single frame:
FOUND FAMILY COMMITING WAR CRIMES FOR EACH OTHER.
Seriously, how are there people who don't see them as a found family? They're literally the most wholesome part of the series. They better be reunited soon, and I want an entire episode dedicated to the afterparty.
"Kunikida is alive. If he died, there's no way I wouldn't have sensed it. Not just Kunikida either. As long as at least one agency member remains alive... They will never stop resisting. This battle will be won by my team."
So like.
If that's not Fyodor, does that mean Nikolai is just hugging some random dude's hand???
Just wondering.
You know that concept I was talking about? Well, since I've got a lot of work to do today, decided to write at least part one of it. This ended up being 1.8k....heh heh, so it's under the cut. Ehem.
When Atsushi arrived 20 minutes late to work, he expected to be scolded by Kunikida for his tardiness.
He did not expect the entire Agency to have their attention on him the moment he opened the door.
"Uhm. Hey?" he said, getting increasingly uncomfortable with the way everyone had their eyes on him. They couldn't all be mad at him for being late, right? He had asked Kyouka to tell them he'd be there in a few (it was still so strange that she was a full-fledged member of the Agency now), and it wasn't like this was a common occurrence. So why was everyone staring at him like they wanted to say something, but couldn't find the words?
"Heyyyyy Atsushi," Dazai started with a light, slightly mischievous grin. He approached the confused detective and wrapped a long arm around him. "How was your weekend?"
"It was good?" Atsushi only became more confused as he attempted to slip out of Dazai's iron grasp. It didn't work.
"Good, good," said Kunikida with an odd expression. "That's...that's good."
"Mhm." Atsushi now turned to Kyouka, who had left half an hour before him. Although her expression too was stoic, there was a small furrow to her brow. He looked at her, pleading both for an explanation and an escape from his mentor who still wouldn't let go of him. She averted her gaze.
"Ok, that's it." Atsushi wrestled out of Dazai's grip and turned to stare back at the Agency. "What's going on? Why are you all looking at me like that? I was only twenty minutes late—"
"This has nothing to do with being punctual," Kunikida interrupted. "Although, we will have that discussion later. You see, the thing is—"
"The news wants to do an interview with the people who are responsible for saving the city from the Moby Dick," Ranpo finished, clearly tired of everyone beating around the bush. The other detectives vaguely glared at him for going right out and saying it, but the brunet merely shrugged and went back to eating his donut. Atsushi's eyes widened and he grinned.
"Wait, that's amazing!" he said, glancing between the detectives, unsure why they all seemed so apprehensive. "It will be good for the Agency if we get our name out there, won't it?"
Kunikida nodded slowly.
"So then what's the problem? Are you not sure who should do the interview? I mean, Kunikida, wouldn't you probably—"
"Atsushi." The Weretiger turned to Dazai who had a serious expression on his face for once.
"Yeah...?"
"The news wants to do a live interview with the people responsible for stopping the Moby Dick. The exact people responsible for doing it."
Atsushi's eyes widened in horror. "You mean..."
"Yep!" Dazai grinned. "You were requested by name. As was Akutagawa."
"Aww no!" Atsushi buried his face in his hands. Suddenly, everyone's behavior made a lot more sense. "Well, that's nice. Tell them we refuse."
No one responded.
"Guys?" Atsushi looked up, making eye contact with each detective individually (except for Ranpo, whose eyes were shut like always). All of their faces were dead-serious. "We're saying no, right?"
"Actually, we already agreed," Tanizaki admitted quietly.
"What?!"
"Look." Dazai placed another arm around Atsushi's shoulders, but this time, the young detective was too distraught to even fight it. "We know that you probably don't want to do this—"
"What gave you that impression?" Atsushi bit back bitterly.
"But as you said, it will be good PR for the Agency if you do this interview. More recognition means more cases, and more cases means more money. And more money..." Dazai leaned in close to Atsushi's ear. "Means more raises. And you know who will be the first to get one if you do this, right?"
Atsushi bit his lip. He was well aware that Dazai was manipulating him, but he was also aware that Dazai was right. And the fact that everyone was letting Dazai do this meant they all felt the same.
Still...
"But with Akutagawa?" Since he didn't trust Dazai to be reasonable, Atsushi turned to plead with his eyes to the rest of the agents. His gaze first landed on Kunikida. "There's no way he'd want to do this interview. He'll try to murder me! Again!"
"The Port Mafia already agreed to work with us," Dazai informed Atsushi, his grin widening. Still, there was something about it that didn't meet his eyes.
Atsushi groaned. "But whyyyyyy..."
"Because it would be beneficial to them as well. Don't worry—I'm sure Akutagawa isn't thrilled with the idea of being in an interview with you either, but it's not like he's going to refuse a direct order. He won't like it, but he'll do it without killing you—probably."
"Well that's reassuring," muttered Atsushi. "And why do I feel like I'm in the exact same boat?"
Kunikida sighed. "No one's going to force you to do anything. If you really don't want to do the interview, we'll call the news station back and decline. But it would add to our PR, and it could drastically improve our clientele."
Atsushi frowned.
"Aaaaaaand you'll be the first to get a nice bonus," Dazai whispered into his ear.
"I guess, but—"
"You'd do it for the Agency, wouldn't you?"
Ugh. His mentor had him there, and they both knew it.
"Fine," Atsushi grumbled, feeling a headache coming on when everyone started celebrating. They all just wanted the money that might come from this interview, assuming he didn't botch things up. Could he do it? No, probably not. And Akutagawa would most likely murder him on camera when he least expected it. Yeah there'd be witnesses, but he was already a wanted criminal; it wouldn't change much.
"Perfect! Kunikida and I will be helping you prepare for the interview," Dazai told him, patting his shoulders.
Atsushi grimaced, his headache getting stronger. "Great..."
"There's also going to be joint practices with Akutagawa before the interview, so get ready for those. Also—"
"Joint practices??" Atsushi turned to stare at him in horror. "You never said anything about those."
"I just did! You really didn't think we'd have you two go on camera without having formally practiced how to sound like you actually don't hate each other, right?"
Atsushi didn't reply. Instead, he chose to sit down in his chair so that he could bang his head against his desk.
"That's the spirit! You two are going to be spending lots of time together! Isn't that fun?"
"Kill me now..." Atsushi groaned.
Dazai laughed. "Don't worry, it'll be fineeee."
"Ok, but none of you can blame me if this interview goes badly," said the Weretiger as he slowly picked his face up from the desk. "When is it, again?"
"Next Tuesday," Kunikida replied, notebook in hand. "So we have exactly eight days to get you prepared to be a representative of this Agency on live tv. As such, we are going to spend every moment we have preparing you—remember, if you mess up, we won't only not get more business, but we could also lose business as well."
"That's not ressauring!"
"It isn't supposed to be." Kunikida adjusted his glasses. "You need to be aware just how much is riding on this interview alone. So as much as you and that Mafia dog don't get along, you're going to act cordially and respectful like a true Agency member, got it?"
"Uh huh." Atsushi scowled. "Assuming he doesn't start anything."
"Good! Well, time waits for no one. Let's start." Dazai dragged over a chair while Atsushi lowered his head in his hands.
"This is going to be a complete disaster, isn't it." Still, there was nothing to do but to face the train wreck head on.
***
"Are you sure this is a good idea?" Chuuya asked Mori again as the boss stared out the windows in his office.
"Of course. Akutagawa is a distinguished member of the Mafia, and I have no doubts that this interview will raise the Mafia's image in the eyes of the government."
"Maybe but..." Chuuya frowned. "Akutagawa is a great agent, but when it comes to social things, well..."
"You don't think he will be able to handle himself well in the interview, is that it?" Mori's eyes seemed to stare right through Chuuya's soul.
"I mean, no offense to him, boss, but he isn't exactly the most...personable member of the Mafia. Coupled with the fact that he's doing it with the Weretiger, a boy he hated so much as to defy orders to sneak onto the Moby Dick simply for the sake of murdering him, I don't know quite how well the whole thing will go if they're forced to be on live tv. Y'know?"
"I do." Mori smiled. "And that is why you're going to be prepping him for this interview."
"Hah????" Chuuya started. "But why—"
"Because he trusts you as an executive, and frankly, I don't think there's anyone else in the Mafia more suited to guiding Akutagawa in this manner." Mori's tone was light, but one thing was evident—this wasn't a request, it was an order.
Chuuya scowled. "And does Akutagawa know about this interview yet?"
Mori's grin broaded slightly. "I figured you could let him know. Until the interview, this takes precedence over any other mission or assignment. Just tell him it's an order from me. I'm sure he won't be happy about it, but he obviously can't refuse. I trust you'll be able to make him camera ready by next Tuesday?"
Chuuya grumbled something under his breath that likely wasn't polite to say in the boss' company. "We're going to have to start today then. It's going to take a few hours just to warm him up to the idea."
"Well, it's a good thing neither of you have any missions right now, so you can get plenty of practice. Courtesy of your boss, of course." Mori laughed. "Oh, and one more thing," he added when Chuuya had begun stalking towards the door. "You two will also have join practices with the Agency."
"What?!" Chuuya wheeled on Mori. "Joint practices?"
"Well, of course. Akutagawa and the Weretiger need to be able to sit in the same room on live television without one trying to kill the other, right? It would also help to get the story straight so that neither of them say anything that might be a little...incriminating."
"Fine, we'll do it." Chuuya's voice displayed utter defeat. "But just promise me one thing. Please promise me that the Mackerel won't be there. Please."
Mori glanced away. "I don't know who the Agency will ask to assist the Weretiger in preparing but..."
Chuuya sighed and rubbed his temples. "I already feel a headache coming on. Well, I'm off to go inform Akutagawa that he's gotta learn how to smile by next week." He turned his heel and stomped away, dreading the next eight days of his life. He wasn't in the mood for a long conversation, so Akutagawa was going to be ok with this, whether he wanted to or not. Once he entered the elevator, he sent the broody agent a quick text to meet him in one of the southern towers. After receiving a quick response, Chuuya had to laugh.
"Oh, this is going to be a train wreck," he mused, watching the skyline slowly sink. "A beautiful, terrible, train wreck."
Yeah so that's the concept - it's a little rushed, but if anyone actually wants a part two, perhaps I'll write it.
Concept: After the Guild arc, the news wants to do a live interview with the people directly responsible for stopping the Moby Dick from crashing and saving the city.
AKA. Atsushi and Akutagawa
It takes a bit of deliberation on both parts, but the Agency and Mafia eventually agree, because they feel it will be good PR.
They both get trained, as well as doing some join practices, for how to speak on live tv and not sound like they want to kill each other.
On the actual day of the interview, Atsushi and Akutagawa are there on screen, Dazai and Chuuya are behind the camera to guide their respective orphan's and get them to smile more (or in Akutagawa's case, look a little bit less like he wants to murder the camera), and Mori and Fukuzawa are there as the leaders of the organizations.
So. Three generations of skk under roof while the tv is live? What could possibly go wrong?
(hint the answer is everything)
Skk genuinely make me crazy because the more you think into them, the more sad it becomes. Dazai is a bad person who is getting pulled more and more into the light while Chuuya is a good person who gets dragged deeper and deeper into the darkness. Dazai gets to be redeemed when Chuuya lost the one opportunity he had, and by now, he's way too loyal to ever leave; they're his family. And yet, despite Dazai being the "evil" one, he couldn't make the Port Mafia his home, not in the same way the Agency is. Even though Chuuya is by all accounts the better person in this dynamic, he's still the one who was forced to take what he was given and make it his, while Dazai kept searching for something more, even though at their cores, they're the opposite. A demon in the light and an angel in the dark. And that's one of the reasons why 22 skk is really interesting - they both live in that area of gray, they just got there differently. One came from white and came closer to black while one came from black and approached white. And it's over this middleground that they connect more than anyone else - Chuuya, a person who at his core wants to do good, but he's been forced into becoming a murderer and to live in the darkness while Dazai, who at his core is more selfish and doesn't value human life, is brought into the light for a chance at redemption the other will never get to have. It's something I don't see much in skk angst but my god does it hurt.
AHAHA YES THISSSSS. If this song isn't them, I don't know what is.
@xvxblahhhxvx I want you to know that you gave me this idea 😂 thanks 🖤
I gave up trying to sync the clips to the music pretty fast lol but I think it turned out great anyway 😂
I think we should take more time to appreciate the cruel irony in so many of the bsd backstories, because Asagiri has this way of writing that's not just "oh sad things happened to this character." They're twisted, each in their own special way.
Atsushi: His whole life, he was treated awfully because he had the tiger. And yet, that tiger is what helped him survive that treatment, it's a manifestation of that will to live he grew because of his abuse. It's the source of all his strength and all his pain. The director told him to only hate him, never to hate himself, and yet, all his life, he blamed only himself for his misfortune. The one lesson the director wasn't trying to teach him is what he learned.
Dazai: At the beginning of dark era, Odasaku has one of the healthiest wills to live. And he reaches out to save Dazai from his own darkness, but he can't. But at the end of dark era...it's flipped. Dazai is begging Odasaku to stay, he's reaching out to stop him, he's telling him to find some meaning in life, that things will get better. Mr. "life is meaningless" himself is trying to tell his friend that life has value because he doesn't want him to go. It's right after he told Odasaku how he knows he's destined to lose everything he desires, and then Oda leaves him because he's lost his will to live. And when he dies, he sees himself as a man who failed to become good, to give up killing, yet Dazai sees him as a success story that people can change.
Chuuya: Chuuya's friends betrayed him because they thought he was betraying them by joining the Mafia. And then Chuuya joined the Mafia in order to protect the friends who just betrayed him.
Yosano: She only wanted to save lives. All she wanted was to help people, to heal them, and yet it was that kindness that ended up turning against her. Because by helping them, she also became the source of all their problems and all their pain. She saved their lives so much that all they wanted was to die.
I could go on for longer, but then this post would be very, very long. There's just something about the cruel irony in each of the backstories that make them all feel so tragic.
OK I'm probably not the only one who noticed this, but I was watching the epic livestream, and in My Goodbye, Athena goes "one day you'll understand, but not today for after all you're just a man." And you know what? One day, he does understand. When he's no longer a man, but a monster. Only then, when he (believes) he's lost his humanity, only then does he understand what Athena was telling him. But he can't, not while he was a man.
And of course then there's the whole cruel irony of Athena becoming more empathetic but that's a different post.
Anyway, I think Epic is pretty neat
Okay so you know your post about chuuya getting turned into a dog and the agency finding him and dazai turning him back???? Look at this
https://www.tumblr.com/sensitiveheartless/673471841118142464/this-is-more-of-a-rough-sketchdump-than-a-proper?source=share
Oooooh that's actually really funny. I imagine it going similarly, just it would take a lot longer for Chuuya to get near Dazai and for him to turn him back, because even though Dazai obviously would have figured it out right away, he'd wait so that Chuuya could get a break. Not that he'd ever admit that though. But yeah this is basically what it would look like.
Ok so we all just know Chuuya went to see Wicked in theaters and decided to make Defying Gravity his theme song.
He's battling an enemy, and he suddenly disappears. Next thing you know, there's a disembodied voice-
"Something has changed within me..."
The enemy turns around, but he can't find him.
"Something is not the same..."
And this keeps going until Chuuya signals for one of his subordinates to hit the light so the enemy can see him standing on the ceiling as he belts:
"I THINK I'LL TRY DEFYING GRAVITYYYYY"
He's still singing it on the car ride home.
I see you your Dazai and Chuuya and raise you Beast Dazai to Beast Odasaku if he chose to stay.
Would You Fall in Love With Me Again from Epic the Musical but instead of Odysseus and Penelope, it's Dazai and Chuuya
okay I'm out
YES this was better than I could have ever said it so I'll just say, that.
I would say that bsd gets so many people into classic literature but to be fair I think it attracts the type of people who would get into it anyway and just needed an excuse.
SSKK in therapy together to work out their problems:
Akutagawa: I hate him because he has everything I want. I hate him because he never had to work for Dazai's approval, because he has friends, and he gets to live in the light, and all he cares about is his past. I hate him because I really hate me and all I ever wanted was validation and-
Atsushi: He cut off my leg I mean really, who does that-
We talk a lot about the cycle of abuse, but we need to discuss the savior chain more because, aside from being one of the most wholesome concepts in the entire series, it's also way more direct than the cycle of abuse and it's what breaks it.
Odasaku begins to save orphans because a man told him to write fanfiction and that led to him to stop killing. He told Dazai to become a good man because he knew for himself that yes, this is a more beautiful path, this makes life just a little bit more worth living.
Dazai saves Atsushi because he sees what Odasaku told him: a traumatized, helpless orphan. He saves him (at first) because of the promise he made to Odasaku, and the opportunity given to him on a silver platter to help out an orphan and give him a home (properly this time).
And on Atsushi's end, that means everything to him. The fact that for the first time in his life, he has someone who didn't give him up on him. That he now has a home, a place where he belongs.
And it's for that reason that he chooses to save Kyouka. He doesn't give up on her because Dazai never gave up on him. Because he feels empathy for her, and wants to bring her over to this new light he's discovered because someone was kind enough to show it him.
Dazai helps Atsushi because Odasaku helped show him the light.
And Odasaku told him to become good because a man once showed him the beauty of saving lives instead of taking them.
And it's this cycle that ends up breaking the cycle of abuse, this generation mistreatment of orphans because they see their own darkness inside of them. Instead, this cycle sees the light inside of others and it brings others to save another.
Hi! Please pay for my next therapy bill.
Rest of the comic is under the cut, because LONG :0
Also! Content warnings for body horror, guns, blood(although in black and white) and just...horror in general tbh
Operation "Fall of the Hooded Hawk": For situations where one half of skk has to shoot without having clear vision, and relies on the direction of their partner. In this case, Chuuya was giving Dazai coordinates of where to fire by tapping against his ear. (It's kind of like a trust fall)
I scripted a whole followup conversation with more explanation of what exactly the mirror was, and just general context, but this comic has gotten so long that I'm gonna write that as a short scene in prose, because it's mostly dialogue and if I try to draw it all then I think my hands will secede from my body lol — I'll probably be able to get that done in the next couple of days. But in the meantime, thanks for reading! :D
(3/5/24 edit: Followup convo is done!)
"Atsushi is a cinnamon roll ray of sunshine."
WRONG.
Atsushi is a little sass who would do anything he needs to in order to survive. He saved dazai (when he intended to rob him )and then was upset he wouldn't thank him.
He shoved over the trash can in the second episode and basically told dazai to khs.
He had knowledge of the future, a future where four million people were going to die, and deliberately used that knowledge just to mess with Dazai because he could.
He will call you out on your flaws and judge you for them. Sure he's nice and a people pleaser a lot of the time, but inside, he's a little judgy sass and we love him all the more for it.